STACK NZ Aug #65

MUSIC

REVIEWS

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Eb & Sparrow Sun/Son

Northlane Node

After last year’s fine debut and opening for Pokey LaFarge and others, this Wellington-based five-piece centred around singer- songwriter Ebony Lamb have ensured a receptive audience for this world class sophomore set. Sun/Son drips with alt-country languor– think KD Lang or Chris Isaak at their most sleepy – together with Spaghetti Western desperation (the cinematic sweep of Coward's Son ), classic country- folk (nods to Johnny, Bonnie and Emmylou), Tex-Mex and more. I Want You has the spaciousness of Ry Cooder's best soundtracks (courtesy of producer Ben Edwards and Bryn Heveldt's lap steel), but Lamb conjures up spook-spirits and menace too. Diverse but coherent. Recommended. Graham Reid

No one saw it coming. Not only did Australian band Northlane manage to part ways with their singer with grace and composure, they opened the auditioning process for his replacement to the public, identified a fitting new frontman and confidently marched on – utterly unperturbed – to record one of the best albums of their career. Node is heavy, make no mistake, but it’s the sparser moments that are its best and most bold. Here the band that endured the aforementioned turbulence get to prove that their mantle as one of Australia’s finest rested with their adventurous spirit. Bravo. Emily Kelly

Deaf Wish Pain After eight years of slept-on albums and repeated hiatuses, Melbourne quartet Deaf Wish have signed to Sub Pop to release their best record yet. Pain showcases all the invigorating noise-punk you’d expect, but there’s much more happening too. The Whip opens the LP at a dirge-like pace before hitting a series of short outbursts punctuated by

the twanging Sunset’s Fool and dreamily driving On . Dead Air is saturated Kraut-psych, powering through six minutes of riotous jamming, and then an eerie dispersal. All four band members contribute singing (or screaming), but these varied tracks hang together perfectly. Sarah Hardiman’s simmering vocal cool recalls Kim Gordon on They Know and Sex Witch ; many of the album’s gnarled, surreal guitar threads nod to Sonic Youth as a whole. But beyond the undeniable influence of milestones like The Stooges and Husker Du, Deaf Wish tap into veins more melodic and volatile. The closing Calypso could pass for a Kurt Vile tune with its daydreaming vocal drawl, and other tracks are immediately accessible despite showers of splintered distortion. A devastating brute of an album with surprising subtlety throughout. DougWallen

Jackie Greene Back To Birth

Motörhead Bad Magic Motörhead’s influence cannot be measured, even transcending music to impact on fashion and art. Their mascot, Snaggletooth, defines rock'n'roll, becoming an iconic figure to many who have never even heard of the band. Bad Magic is Motörhead’s 22nd studio album and another solid collection of tunes. Lemmy’s recent health scares may have slowed him down, but he continues to snarl and spit out tales of war and revenge without missing a beat. Motörhead offer no new tricks with Bad Magic , but like any act with 40 years of experience, they always put on a great show. Simon Lukic

The Fratellis Eyes Wide, Tongue Tied

Albert Hammond, Jr. Momentary Masters There’s no mistaking those controlled guitar ribbons, and The Strokes’ Albert Hammond, Jr. brings his usual in-the-pocket flair to this solo album. But after the promising opener Born Slippy and the dancey Power Hungry , Hammond, Jr. spins off in too many unsatisfying directions. While Losing Touch does well with chugging 1980s power-pop (think Squeeze), Caught By My Shadow is a glowering, Black Keys-esque detour, and Don’t Think Twice is a stilted Dylan cover. Even as he strives to branch out, Hammond, Jr. keeps evoking his usual band, right down to the anxious pulse and distorted vocals. DougWallen

Former frontman/guitarist for Phil (Grateful Dead) Lesh's touring band, member of The Black Crowes (for two years before their dissolution a few months ago) and credible country-rock/roots player here delivers his seventh album, which has some comfortably familiar reference points (The Band, Tom Petty, the Allmans, and the Crowes of course). Greene carves out immediately accessible road-song stories, be they reflective, string-enhanced acoustic ballads ( A Face Among the Crowd ), downhome stoner country (the harmonica-coloured Motorhome ), Southern soul-blues ( Where the Downhearted Go ) and more. Solid Middle American rock with deep roots. Graham Reid

Nearly a decade since the Glasgow trio debuted their unique take on rock/pop/garage fun, it’s now apparent the gloves are off and sounding BIG ain’t no crime to The Fratellis. Of course, that’s why on track two it’s also okay to jump into a Tom Petty/ Springsteen stadium shuffle-hustle. In fact, a country- twanged vibe slips through on Desperate Guy , making one think that references to The Boss aren’t a mere coincidence. Thief fires a straight-to-the-brain anthem to which one can imagine hundreds pogoing in unison at festivals the world over. It’s pop, but sharp, calculated and smart. Chris Murray

AUGUST 2015 JB Hi-Fi www.jbhifi.co.nz

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